‘Ragtime’ @ Lewisville Playhouse
—Carol M. Rice
We’ve all heard the phrase, “the more things change, the more they stay the same,” and I couldn’t help thinking this as I watched Lewisville Playhouse’s outstanding production of Ragtime. Based on E.L. Doctorow’s 1975 historical novel of the same name, Ragtime has a book by the late, great (and Texas-raised) playwright Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens. It opened on Broadway in 1998 and received Tony awards for Best Book of a Musical and Best Original Score.
The story takes a hard look at Eastern European immigrants, Black Americans, and wealthy suburbanites trying to coexist in New York City circa 1900. Things aren’t much better now than they were then. Immigrants are still trying desperately to find their way, and make ends meet, in this “land of opportunity.” Blacks are still feared and misunderstood, and the wealthy often simply ignore the plight of the poor and disadvantaged—and aim to get wealthier.
But then, we come across someone who’s different. Like Mother (Jennifer Brown), part of an upright and affluent household, who suddenly decides to take in a Black infant and his destitute mother Sarah (Micaela Workman). She also (albeit reluctantly) welcomes the baby’s father into her home: Coalhouse Walker Jr. (Christian Black) is trying to woo and marry Sarah. Mother is instantly sympathetic to wandering immigrant Tateh (Nolan Shaver) and his young daughter (Peyton Thomas).
It’s a start.
Unfortunately, Mother is the exception in Ragtime, but her empathetic and compassionate nature starts a ball rolling, one that leads to events that sadly, don’t always turn out well. Black and Workman are a powerhouse pair as Coalhouse and Sarah. Their chemistry is off the charts, and their soaring vocals and harmonies gave me chills. The duets “Wheels of a Dream” and “Sarah Brown Eyes” are absolutely beautiful, and Black’s performance of “Coalhouse’s Soliloquy” is both angry and powerful. Black and Workman have easily given the finest performances I’ve seen in DFW this year.
At the performance I attended, Black’s young son Carter Black appeared briefly as Coalhouse Walker III, which was adorable. It was made even more special to see young Carter’s performance on Father’s Day. He’s a natural. (Spencer Scott alternates in the role at some performances.)
As Mother, Brown seems tentative and sheltered at first, but gradually finds the gumption to stand up for herself. She has a lovely, legitimate soprano voice. As the immigrant Tateh, Shaver’s intensity and obvious love for the child he’s raising alone—it’s beautiful to watch. Shaver goes through an incredible range of emotions in this role, and delivers the line (in the Act I closer “Till We Reach That Day”) that truly resonated with me: “What’s wrong with this country?”
This is something I ask myself on a regular basis.
While most of the characters in Ragtime are fictitious, several historic people are interspersed throughout, including Booker T. Washington (Jaquailyn Martin), activist Emma Goldman (Kelly Hudson), escape artist Harry Houdini (Caleb Santos), chorus girl Evelyn Nesbit (Emmalyn Gladney Miron), Henry Ford (Tyler Perring), and banker J.P. Morgan (Isaac Ramon). While some of their appearances make sense in the scheme of things, others do not, but that doesn’t lessen the quality of the performances. Hudson’s Emma Goldman is exceptionally good.
Mother’s Younger Brother is portrayed with tentative “rich boy” vibes by Peter Dunne—and when he later finds his fire, the transformation is intense. Matthew Lovelace’s Father goes from being in charge of his family to being confused by the change brought about by his absence. The Little Boy (Mother and Father’s son) is energetically played by Jack Thomas, and Whitney Bohannon shines as Sarah’s Friend.
Director Wendi Brozek’s love and understanding of Ragtime comes through from the first note and emanates through the entire piece. She has cast the show well, including the talented ensemble (without which, the show would not succeed), and she utilizes every inch of the small space to bring the story to stunning life. Sydney Aviles has created a multi-functional set with levels and moving staircases, and Quintin Jones’s choreography uses it well.
I cannot say enough about music director Margaret Miller, who brings out every note and harmony; the intensity and beauty of the music flowed through the theatre every time the cast sang a note or the orchestra played. Kudos to Scott A. Eckert, Miguel Morales, David Huff, Melody Stevens, and Darnell Donalson as the Ragtime Orchestra!
I don’t often call a show a “must see,” but I’m going to make an exception for Lewisville Playhouse’s Ragtime. One of my companions barely moved during intermission, she was so intent on processing what she had seen thus far. This is a phenomenal production and deserves overflowing houses for all remaining performances. You will fall in love with the characters and their stories, even as their plights make you think and wonder why (despite progress) our society is still so far away from where we might be.
WHEN: June 12-29, 2025
WHERE: 160 W. Main Street (theatre/parking behind Main St. bldgs), Lewisville TX
WEB: lewisvilleplayhouse.org
